图像不死
BILDER, DIE(NIE) VERSCHWINDEN
铝板、汽车漆 2014
图像会消失吗？或者图像会死吗？这些问题都来自对《圣经》的挪用和暗喻，死亡在这里就预示着复活，而关于上帝创世纪为七天，耶稣复活在三天之后，这是否提示了颜磊艺术中的某种阶段性呢？
Can images disappear? Can images die? These questions arise from the appropriation of and reference to The Bible. Here, death foretells resurrection. God creating the world in seven days and Jesus rising from the dead after three days also suggest that there are also stages to Yan’s work.
有限艺术项目
LIMITED ART PROJECT
布面油画，尺寸可变 2012~2015
《有限艺术项目》是颜磊参加2012年第十三届卡塞尔文件展的作品。这个作品在文件展现场是由400张油画作品组成，在展览举行的100天里，由大众汽车赞助，根据艺术家的方案，每天将部分画作送到大众汽车工厂进行喷漆覆盖，然后再挂回展厅。另一组绘画则是他（和他的员工）从大众传播媒体和其他资源里“遇到”和挑选的图像。这些图像挂在墙上被安装成一面多层的图像墙，以压倒性的姿态俯视着底下的人流……
This is a site-specific re-installation of Yan Lei’s seminal project created for DOCUMENTA 13,in2012,during the 100days the event,every day he sent some paintings from the four hundred oil paintings installed in the documentasent-halle to the local volkswagen factory to be covered with industrial paint. Then hey were brought back to the exhibition. Another series of paintings consists of images that he(and his employees)”encountered”and selected from mass media and other resources. These images are mounted to form multi-layered image walls,overwhelmingly looking down on the flow of people underneath…
罗马晚报空间
ROMA EDICOLA NOTTE
特定地点装置 2007
观者透过橱窗可以看到这个象盒子的幻像，幻像将观者的所见所忆欺骗。这空间与想象并非看到的那样，而是中国艺术家颜磊在挑衅。
对那些持续关注罗马的小画廊代理的艺术家与作品的人、或留意第五小巷中动静的过客而言，瞧这件作品头一眼时，或会感到有些困惑与惊讶。在玻璃窗外，有点古怪，有点不对劲。小房间仿佛变大了，但这与人们日常的经验不符，因为墙不会自个儿走路。之前展出的Bruna Esposito的作品还在。但回头想，又觉得事有蹊跷，因为门上赫然写着“颜磊”二字。这位闻名全球的艺术家在意大利参加过的展览也不少，包括第50届威尼斯双年展的紧急展区（Zone d’Urgenza）。颜磊（1965年出生）的创作媒介多样，从摄影到录像，借绘画来实现其（观念）作品。他在参加常青画廊（圣吉米那诺）群展“进行中的对话”（A Continuous Dialogue）时被认为是中国前卫主义艺术的一员，而此次为“晚报摊”（Edicola Notte）带来了一件（观念转化的）摄影装置。
Eyes and memories deceived by the big box’s illusion you can see through the showcase. The space and the imagination are not what they seem. That’s the provocation of the Chinese artist Yan Lei
Those who keep track of the passing of works and artists in the tiny roman gallery, as well as the passer aware of what happens in Vicolo del Cinque, experiences a feeling of confusion and of surprise at a first glance. There’s something strange, something not clear beyond the window. The little room appears bigger, but it can’t be true because walls are impossible to move. Bruna Esposito’s work seems still exposed from the previous exhibition. But, another time, it can’t be true because on the door is written Yan Lei. This artist is well known all over the world and he has joined many exhibition even in Italy. Among those the 50th Biennale di Venezia where I has exposed in Zone d’Urgenza. Yan Lei (Hebei,1965; now working in Hong Kong) uses different media, from photography to video, passing through painting, to realize his works. The artist, considered a member of L’Avanguardia Cinese in Italia by A Continuous Dialogue – a Galleria Continua’s exhibition-, has carried out a photographic installation for Edicola Notte.
泰康保险计划
TAIKANG PROJECT
绘画装置 \公共介入项目 2006
泰康计划是又一颜磊与洪浩合作的作品，它由两部分组成：被篡 改的梵高画作“阿尔勒医院的病房”（Ward in The Hospital in Arles），头裹纱布的两位艺术家亦在画中；同一画布上，还贴着两张 保险单原件，受益人为两位艺术家，保额均为七亿元人民币。如合约 签订起一年内，艺术家因艺术创作而罹患精神或肉体疾病，泰康保险 将全额支付保险金。颜磊和洪浩并未简单地提出针对艺术家身份的批 评，而是通过签订合约的形式在当代艺术系统之外巩固其艺术身份。
Another collaboration with Hong Hao, Taikang Project consists of two parts, an altered version of Van Gogh’s “Ward in The Hospital in Arles”, including both of the artists in the painting and their heads wrapped in gauze. On the same canvas, pasted original copies of insurance certificates for each of the artists at the sum of 700 million RMB each. For one-year time, should the artists felt ill or gotten hurt from their creative process, Taikang insurance will bare all costs. Instead of simply raising criticisms, to the vocation that is an artist, Yan Lei and Hong Hao solidified their artistic identify through the corporate channel out side of the contemporary art system.
无限画廊
UNLIMITED ART GALLERY
策展 2006
顔磊为艺术家张岳，做了一个“无限画廊”，并在这个画廊为其策划了一个展览——《语录》。
Yan Lei makes up a fictitious artist with the name Zhang Yue and curates an exhibition called ‘Statements’
第五系统
FIFTH SYSTEM
个展 2004
顔磊以自己艺术家的身份成功说服了当地政府圈了一片位于黄金地段的，面积大约为足球场大小的土地，将其圈了两年，期间不用做任何用途，艺术家借此提出两个问题：
1，空间是否应该被开发利用？
2，大众对艺术的看法，这究竟是不是艺术？如果不是，那究竟什么才是艺术。
Yan Lei used his position as an artist to successfully convince the local government to section off a valuable real-estate area, the size of a football pitch, for two years. With this gesture the artist intended to raise these two questions:
1) Should space always be utilized and be put to use?
2) According to the public perception of art; what is and isn’t art? If it is not art, what then is art?
法国尼斯艺术家驻地项目
ARTIST RESIDENCY NICE FRANCE
艺术家进驻项目 2004
此作品分为三个部分，艺术家受法国尼斯阿尔森城堡驻留计划（Villa Arson)的邀请，进行了为期三个月的进驻。此进驻项目邀请世界各地知名艺术家根据其空间来进行创作，艺术家进驻后，发现艺术中心的前台是一位上了年纪的老妇人在负责接待，身旁还有陪伴着她的一只狗。这个边缘化的形象和孤独的氛围立刻吸引了艺术家……
The artist was invited by Villa Arson for a three month residency to create an onsite work, which he presented in three parts. The residency program has in the past invited many renowned artists the space to create projects.
Upon arrival at the site, the artist noticed an old lady sitting at the front desk, accompanied only by her dog. This feeling of alienation and loneliness immediately attracted the interest of the artist……